“In my mind I am eloquent; I can climb intricate scaffolds of words to reach the highest cathedral ceilings and paint my thoughts. But when I open my mouth, everything collapses.”
From the first moment that I heard about the novel Warm Bodies, I was intrigued. To me, the premise is fascinating. Isaac Marion takes two major writing tropes (zombie apocalypse AND star-crossed lovers) and marries them, producing a riveting new kind of fiction. I love novels that are both gritty and tender--ones that delve into complex characters and explore all sides of them (and we all know that I love works focusing on apocalyptic scenarios). While I've read/watched lots of zombie tales, I had never read one prior to this novel that explored the psyche of the zombie, or that presented the zombie as emotional and complex. I love the way that Marion explores issues of identity, memory, alienation, loneliness, and grief. The best part? "R," the main character, has a wry sense of humor that is deadly. The first line of the novel demonstrates his wit: "I am dead, but it's not so bad. I've learned to live with it."
R often addresses the audience directly when he talks, which creates an interesting effect. Right away, R reflects on names as he talks to the reader: "I'm sorry I can't properly introduce myself, but I don't have a name anymore. Hardly any of us do. We lose them like car keys, forget them like anniversaries..." R goes on to reflect on the significance of names as part of identity and culture: "But it does make me sad that we've forgotten our names. Out of everything, this seems to me the most tragic. I miss my own and I mourn for everyone else's, because I'd like to love them, but I don't know who they are."
R's stunning eloquence as a narrator is juxtaposed with his utter inability to articulate his thoughts verbally. He struggles to say simple words and phrases. After trying to communicate with Julie, who is human, R states his frustration: "Julie looks at me like she's waiting for more, and I wonder if I've expressed anything at all with my halting, mumbled soliloquy. Are my words ever actually audible, or do they just echo in my head while people stare at me, waiting? I want to change my punctuation. I long for exclamation marks, but I'm drowning in ellipses.” What I love about Marion's prose is the captivating beauty with which he expresses the conundrum of communication. While R's struggles have to do with his undead state, he also articulates what so many people (perhaps teenagers most especially) experience when they try to share their thoughts with others. I want to change my punctuation. Ah, if that isn't beautiful, self-reflexive language, I don't know what is.
Despite my love of the novel, I was quite skeptical that my students would enjoy it. The text is much more difficult than many YA novels (in fact, it would probably not be classified as YA, though many people pushed it since the movie is definitely geared toward teens). The plot (despite the whole zombie thing) moves rather slowly. Additionally, the end, while functional, raises lots of questions. However, as with all novels I read and want to share, I put it to the test by placing it in the classroom library, and I found it to be a wild success. There was a waiting list for it, and I could never keep it on the shelf. Students who aren't crazy about reading seemed to handle it relatively well, and they enjoyed it.
If you're considering teaching a contemporary, post-apocalyptic novel, this one might be a good choice for a variety of reasons. First, the syntax and style of the novel beg closer study. Additionally, Marion provokes thought about complex issues of identity, alienation, and the determination to live despite horrifying circumstances. I would consider teaching Warm Bodies in advanced upper level classes (such as AP Lang or AP Lit) because of the syntactical structure as well as the complex questions that it raises about what makes life valuable. It would also be a great text to study along side of the film because the film version made some drastic changes (including sparing the life of a major character). You could explore the way that audience impacts storytelling and consider why Hollywood producers might soften the grittier parts of a novel for a teen movie audience. Additionally, Marion creates parallels between Shakespeare's Romeo and Juliet and his own novel (which I discussed here), and that paired reading would be fun to explore as well.
“Peel off these dusty wool blankets of apathy and antipathy and cynical desiccation. I want life in all its stupid sticky rawness.”
IMPORTANT UPDATE: Thank you so much for all of the emails and comments regarding this post and the materials I created. As of 9/4/14, the materials are now available on TeachersPayTeachers at my (newly created) store, Teaching the Apocalypse. Please check it out and download the materials from there (you'll have to create an account to download the materials). If they are useful to you, please RATE THEM on this page, and leave comments. You can FOLLOW ME on TpT, where I will soon post more materials and activities.
"We believe in ordinary acts of bravery, in the courage that drives one person to stand up for another."
As you are likely aware, Divergent by Veronica Roth is a young adult dystopian novel that was first released in April of 2011. The second in the series, Insurgent, was released in May of 2012. According to my students, the next book, Allegiant, will be released in October of this year. The first novel, which is what I will focus on in this post, revolves around the choices that a teenage girl must make as she moves toward adulthood. It is set in a dystopian futuristic Chicago where the society is divided into factions based on which attribute they most value (bravery, truth, peace, knowledge, or selflessness). At the beginning of the book, the main character must choose her faction, and once she makes that choice, she must learn to live with the impact of that decision. Meanwhile, the world around her is rapidly changing and deteriorating in ways she only begins to discover. For more information about the book series, you can see Veronica Roth's page. Here's the trailer for the movie to be released in March 2014.
Above all else, I judge teen lit by how much excitement it generates in my students. We read Divergent in August, and I still had students talking about the movie and showing me images of the new book cover as late as May. I had three copies of Insurgent for the classroom, and they were constantly in demand and read (voluntarily) by almost half of my students. This book series resonates with the students and generates a tremendous amount of interest and excitement in reading. It is exciting and dares students to consider their own bravery, but it is also the story of a teenage girl discovering love and romance, which the students enjoy as much as they do the intensity of the action.
Last year, I began the year for English 9 with Divergent. The unit revolved around active engagement and how to make choices in the classroom and in the community. One of the things I loved about beginning the year that way was that students used Divergent during our SSR (sustained silent reading) time. That made it easier for them to adjust to SSR, and it was also nice because it allowed students who flew through the reading to move on to other books while giving students who took longer to read the support and time that they needed to get through the novel.
The novel focuses on choice--the fact that above all else, the choices that we make determine what happens in our lives. It also highlights the interrelationship between choices and the transition from adolescence to adulthood. Because it was the beginning of the year and the beginning of my students' high school careers, we focused on parallels between choices in the novel and choices that they were making in their own lives and as citizens within the school community. I used nonfiction and poetry supplements to enhance the novel and highlight the skills that we were developing.
The unit revolved around three essential questions:
As far as skills are concerned, I focused on point-of-view, characterization, tone, inference and close reading skills (including annotation). As we moved toward the end of the novel, we focused on theme and finding textual support to prove theme statements. The students completed plot questions and double entry journals for homework (I've attached a sample of that assignment below). For assessment, I used quick reading quizzes and daily formative skills checks. We had discussions and practiced the skills with supplemental readings. As far as major assessments, I used two skills assessments. The first was an excerpt from a major scene in the novel and the second was a cold reading passage. We also had a Socratic discussion at the end of the novel for which the students prepared, and the students wrote responses to some guided questions on Schoology prior to the discussion. For more information about Socratic discussions, see my previous post.
The document below includes the way that I broke up the reading, a description of their homework and a model of the double-entry journal. It also includes the homework for chapters 1-4. In the journals, the students moved from practicing inferences to tone and finally to theme statements. If you like this activity and are interested in having more of the packet, please feel free to contact me directly. These journal entries could certainly be modified to use in class as a way to reflect on and respond to the reading.
The final project required students to create their own factions. It was a research project and it included a group presentation. The students had to come up with the faction characteristics and create a name with a complex meaning. They had to find a possible representative from real life of that faction and research the person's life as an illustration of how that person demonstrated the traits of the faction, and they had to make connections to the novel with passages from the book. Here is a PDF of the assignment sheet, the rubric for the projects, the audience participation guide, and the peer and self-evaluation that I created last year.
Phew! That just about sums it up, I guess. I do have more materials and activities that went with the unit (in case you're interested), but I tried to include the major assignments and the general approach. As far as changes for this coming year, I will likely NOT teach tone as one of the main skills with this novel. I discovered that because the novel has so much dialogue, many students became confused between characterization and tone. They would focus on a character's specific tone in his/her words instead of finding the tone of the passage, and it was challenging to explain the nuances of the difference. They found clarity as we looked at descriptive passages, but it was perhaps an unnecessary confusion. I might also drop the double entry journal entries down from two entries to one (or have them do one at home and one in class). The length of the novel was overwhelming for some students, so I will do more next year to help them with modifications as needed. We have a couple of copies of the audio of the novel, and one of our ELL teachers created chapter summaries of the novel that we'll use for struggling students. I'm also considering teaching Romeo and Juliet first this coming year so that students can take a field trip to see the play at the amazing Staunton replica of the Blackfriar Playhouse before it leaves in November, so I will likely introduce some of the concepts such as inference and close reading skills at an earlier time.
As a final thought, I'd like to encourage teachers considering teaching YA lit in the classroom to take the plunge. At my school, many people are very supportive--in fact, this last year, we purchased Divergent and the whole school read it at some point during the year. I know that may not be the case everywhere, but I find that we as educators can continue discovering the balance between classical, canonical texts and contemporary texts written for teens. Many students (both boys and girls) told me that Divergent was the first book that they had honestly read from cover to cover, and that paved the way to a much more prosperous year as far as silent reading and setting individual reading goals. What I love most about YA lit is the way that the stories address complex issues (such as why wars happen and how to make difficult choices and face your fears) in ways that are accessible and appealing to teens. I've read SO MANY amazing YA books that would work well in the classroom. The Infernal Devices series by Cassandra Clare is amazing, as is the Daughter of Smoke and Bone by Laini Taylor. Warm Bodies by Isaac Marion (how do I not have a post on that novel yet? Coming soon...) would be an awesome novel to teach, and it would work nicely as an exploration of text-to-text comparisons with a focus on audience since the film and novel are quite different. I also love the idea of teaching the first book in a series because that gives students a great jumping off point for their own reading. As far as realistic fiction, I just read Hold Still by Nina LaCour, which addresses the impact of suicide on a community, and our department discussed teaching John Green's The Fault in Our Stars, which includes teen romance, the role of fate, and illness.
Have you taught (or are you considering teaching) any YA lit novels in your class? Please share your comments and ideas! I look forward to learning what others are doing with this amazing genre.
While I intend to focus primarily on contemporary YA lit and how to use it in the classroom, it’s been “much upon my mind that I ought to tell…the whole truth,” (things I remember from my own high school experience: Dickens’ Great Expectations) and the truth is that in class, I’ve been teaching Romeo and Juliet. Couldn’t get more classic, less contemporary, could we?
Because of its canonical aspects and the language barrier, I approached the unit with trepidation. While I’ve taught many of Shakespeare’s plays, I have rarely taught freshmen and had not yet come across this particular task.
I have no use for beating difficult texts over students’ heads (metaphorically, of course—I feel obligated to highlight that I do not promote abuse). I certainly have done my share of suffering when teaching texts that students did not enjoy (A failed attempt at The Crucible comes to mind, as do the early parts of years when I taught American lit as a chronological survey course). While I love teaching Hamlet to seniors, I found the thought of Romeo and Juliet with freshmen intimidating. I believe in instilling the love of literature and of learning in the hearts and minds of kids, and I believe that some texts invite that possibility more than others.
So I did what I do when I am anxious—I researched (which, as a random aside, is a terrible plan when it comes to things like medical concerns, but which works quite well for conquering fears over teaching certain texts). I came across lots of mediocre ideas and some stellar ones as well. I used one of John Green's amazing Crash Course videos (see youtube link here) to get the students interested and give them some helpful background information. For other engaging activities during the unit, I relied especially heavily on Dana Huff’s posts (on www.huffenglish.com). I was most excited by her ideas about pairing scenes from the Zeffirelli version of the film (1968) with the Luhrmann version of the film (1996). Many of the students are visual learners, and all of them are better equipped to interpret and analyze film, so those activities have been amazingly successful. They made great notes, had good discussions, and wrote strong essays. The films bring out so much of the power within the writing and the story. I watched Luhrmann’s version of Act V scene iii five times. This is the testament to the power of interpretation: I felt a shiver of chills every time Romeo took the poison and felt Juliet’s hand. I’m not easily moved, but I cringed (as did every student watching) as Romeo discovered the horrifying truth.
The unit has been much more successful than I expected. They have become much better at paraphrasing, have made tremendous progress with reading, and have managed to push through the difficult language and into the complex issues that the story itself presents. With the recent epidemic of star-crossed lovers in awesome YA lit novels, the story feels remarkably relevant and even exciting. (If any teachers want to contact me for additional ideas or resources for Romeo and Juliet, please feel free to do so on the contact page or through twitter.)
And so I look toward next year’s Fate and Choice unit with excitement instead of dread. I keep thinking of all the things I can change and add. I used a small excerpt from John Green’s The Fault in our Stars (a phenomenal novel! A review of this will come at some point, I’m sure, but at this moment suffice it to say that I highly recommend it) this year to help students understand the term star-crossed, but I’m excited about the notion of introducing more pairings next year. I just read Warm Bodies by Isaac Marion (which is exquisitely written and includes a delightful balance between the crude nature of zombies and the irrepressible force of love), and I’m fantasizing about fun pairings between balcony scenes and other aspects of the two texts. Whether it’s gnomes (I have full intentions of using some aspect of the movie Gnomeo and Juliet), zombies, or terminally-ill teens, the power of this trope resonates throughout our world.
As R. says in Warm Bodies: “In my mind I am eloquent; I can climb intricate scaffolds of words to reach the highest cathedral ceilings and paint my thoughts. But when I open my mouth, everything collapses.”
K. Ashley Dickson-Ellison is a former high school English teacher (who is now an instructional technology teacher) interested in exploring the integration of trending young adult literature into the English classroom experience. Ashley is also a member of the podcast Unabridged; check out the podcast site below.
Please note: All ideas and opinions are my own and do not represent my current or past employers.
© K. Ashley Dickson and Teaching the Apocalypse 2018. Unauthorized use and/or duplication of this material without written permission from this blog’s author is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to K. Ashley Dickson and Teaching the Apocalypse with appropriate and specific direction to the original content. All thoughts and ideas are the author's and do not represent any employer.